United Kingdom Edinburgh Worldwide Pageant 2024 [11] – Mozart, Le nozze di Figaro: Soloists, Orchestra of Komische Oper Berlin / James Gaffigan (conductor). Pageant Theatre, Edinburgh, 17.8.2024. (GT)
Mozart’s The Marriage of Figaro is the second totally staged opera on the Edinburgh Worldwide Pageant after the pandemic, and it ensured a full home on this, the second evening of their three-night run on the Pageant Theatre. Berlin’s Komische Oper introduced two casts with them, and their orchestra, not like the Opéra Comique’s Carmen who employed the Scottish Chamber Orchestra within the pit. If that was a optimistic notice, the disadvantage was within the often-distracting manufacturing by Kirill Serebrennikov, who, together with his compatriot Dmitri Tcherniakov, has a fame for controversial stagings of the preferred operas within the repertoire. Often, Serebrennikov’s productions carry an X certificates, and this staging contained each nudity and profane language. Whereas there have been a number of weaknesses in his conception of Mozart’s masterwork, there have been a number of optimistic advantages that allowed a contemporary method.
One of many distinguishing facets of the staging was the accent given to societal class divisions which have been prevalent in Beaumarchais’s unique play, and in Da Ponte’s model that raised the plight of the abusive therapy of girls in society. Within the Komische Oper manufacturing, the profligate wealth of the aristocracy is clear by means of the Rely’s work and sculptures, his way of life, as is the poverty of the decrease lessons in addition to the sexual abuse of working ladies within the lowest depths of society. Serebrennikov says, ‘Da Ponte did all the pieces he might to melt the criticism of energy within the libretto and Mozart was extra drawn to the non-public, psychological facets of human nature than to the social and political themes. […] As an alternative, he provides him [Figaro] the aria “Aprite un po’quegli occhi” in regards to the betrayal of girls. Susanna is the one who actually is aware of the right way to keep a number of steps forward of her state of affairs.’ To his credit score, the Russian director remodeled this operatic comedy right into a stage work of better significance past its fabulous arias, witty tunes and bawdy absurdity.
Like his compatriot, Tcherniakov, Serebrennikov likes to separate his units into two or three stage ranges in an effort to minimise the scene modifications; In Acts I and II, there have been break up ranges with the basement under divided right into a laundrette, and a locker room, and above, the house of the Rely with its modernist sculptures and work evincing his profligate way of life. Downstairs, an previous lady busied herself cleansing the washing machines. Because the overture opened, the female and male characters entered to vary into their working garments whereas attempting to get an web connection on their cellphones – this is able to be a frequent follow all through the present. In the course of the night, an uplifted mattress revealed the texting (usually blasphemous) between Susanna and Cherubino – including to the viewers’s amusement however diverting attentions from the singing.
Serebrennikov launched an additional persona in Cherubina, who sings Cherubino’s traces for him, for he’s a deaf-mute actor who communicates by means of his love poems, and his indicators and actions. He’s a particular character – a consistently hyperactive younger man with vibrant sexuality – his ‘singing’ was offered by his alter ego within the Cherubina of Susan Zarrabi and one other of the ‘stars’ of the night. One other ‘star’ was revealed within the opening arioso of Tommaso Barea’s Figaro – he has a powerful baritone and a presence that dominated each scene. Of the others, the Russian-born baritone Andrey Zhilikhovsky’s Rely Almaviva was very good in voice and presence, as was the Susanna of the Australian soprano Siobhan Stagg who was terrific, and who revealed that she is a good actress in tackling the shifting sides of her dilemma. The soprano of Nadja Mchantaf’s Countess Almaviva was excellent in her first nice aria, but later was discovered wanting in color and vary, however possessed a nice stage presence.
The good characterisation of Georgi Kudrenko’s Cherubino usually stole the present together with his actions and facial expressions, and it’s hardly stunning Serebrennikov ceaselessly has him concerned in each film and stage exhibits. Of the singers, a nice basso profundo voice by Peter Lobert’s Antonio introduced distinction to his restricted position; the Basilio of Ivan Turšić was glorious and revealed nice appearing; Ulrike Helzel’s Marcellina was excellent in her vivid mezzo-soprano and finely poised characterisation of a gallery proprietor. Point out should be manufactured from the non-speaking a part of Susanne Bredehoft, who portrayed the a part of a forgotten, uncared for particular person because the previous lady but is the particular person holding it collectively. Most annoyingly nonetheless have been the frequent trivial actions that distracted one from the singing. It was most bizarrely manifest within the last scene of Act II by the wild dancing of a younger man with a knife and the surprisingly violent strolling sequences. Most ugly of all was the scene on the finish of Act IV of the younger man stabbing a number of ladies.
In Act III, the narrative of sophistication variations was evident within the neon lighting projection of ‘Capitalism kills love’ demonstrating the profligately rich whims of Almaviva and his elite cabal. The distinction is emphasised by the scene downstairs, the place the laundrette is now filled with cast-offs, trash and previous procuring trolleys. The costume designs by Tatiana Dolmatovskaya, and by Serebrennikov have been fashionable and mirrored the place of the characters; both glitter and bling for the Rely and Countess, whereas boring blue working garb for the decrease lessons downstairs. Olaf Freese’s lighting scheme of vivid pinks and comfortable blues gave a dream-like imaginative and prescient for the manufacturing, but against this, the units all through have been dominated by boring greys for downstairs and good whites upstairs. The orchestra of the Komische Oper was directed masterfully by James Gaffigan, with many lovely solos from the woodwind gamers, and notably the timpani, and naturally the harpsichord continuo accompaniments and the sporadic cell phone tunes that added an additional little bit of humour to the present.
Whereas Serebrennikov makes an attempt to convey a up to date really feel to the unique play La Folle Journee ou Le Mariage de Figaro by Beaumarchais – the consequence will not be convincing. Whereas there are lots of progressive facets, a lot of the secondary exercise takes the listener away from the primary narrative by means of the foolish jokes and trivia. Fortunately, the good genius of Mozart’s rating reminded one which nice music reigns supreme, and it might not be tough for future performances of this manufacturing to easily make some changes within the dramaturgy, and accordingly Serebrennikov’s manufacturing might reprise the genius of Walter Felsenstein and turn into a major contribution to the numerous nice productions of this masterpiece by Mozart.
Gregor Tassie
Featured Picture: Komische Oper Berlin’s The Marriage of Figaro © Jess Shurte
Manufacturing:
Director, Set and Costume Designer – Kirill Serebrennikov
Set Co-Designer – Olga Pavlyuk
Costume Co-Designer – Tatiana Dolmatovskaya
Choreographer – Evgeny Kulagin
Video Designer – Ilya Shagalov
Lighting Designer – Olaf Freese
Dramaturgy – Julia Jorda Stoppelhaar, Daniil Orlov
Solid:
Rely Almaviva – Andrey Zhilikhovsky
Countess Almaviva – Nadja Mchantaf
Susanna – Siobhan Stagg
Figaro – Tommaso Berea
Cherubina – Susan Zarrabi
Marcellina – Ulrike Helzel
Bartolo – Philipp Meierhöfer
Basilio – Ivan Turšić
Antonio – Peter Lobert
Cherubino – Georgy Kudrenko
The Rely’s Henchman – Mikhail Polyakov
The Younger Man – Nikita Elenev
The Outdated Girl – Susanna Bredehöft
